txhvavy of t:he trheological ^eminarjp 

PRINCETON . NEW JERSEY 

'if/ V^V* 

PRESENTED BY 

A. G. Cameron. Ph.D. 



^-^70 






"Bos-to-n AiVie-r>ov«! 



\A'r'(\ 



COMMITTEE OE FINE ARTS, 1864. 



EDWARD N. PERKINS 
GEORGE W. WALES. 
LEMUEL SHAW. 
G. ROWLAND SHAW. 



DiRECTOu — J. HARVEY YOUNG 



STATUARY. 



Nos. Subjects. O-vsmera. 



1 Copy of the Head of Apollo Belvidere. Mrs. H. Greenough. 

2 Bust of Raphael. Presented by Hon. T. H. Perkins. Athengeum. 

•5 Bust. R. S. Greenough. 

4 Hebe and Ganymede, by T. G. Crawford. C. C. Perkins. 

5 Statue of Ceres. 

6 Bust of Rubens. Presented by Hon. T. H. Perkins. Athengeum. 

7 Bust of a Vestal, by Canova. C. C. Perkins. 

8 Cast of the Laocoon. Athenseum. 

9 Bust of a Child, by T. Ball. 

10 Bust of W. Allston, by Clevenger. Athenajum. 

1 1 Anacreon, by Crawford, Athena;um. 

12 Cast of the Apollo Belvidere. Athenseum. 

13 Bas-Relief. Athen^um. 

1 4 Bust, by Dexter. 

15 Cast of the Statue of Diana hunting. Athenjeum. 

16 Bust of Napoleon. Mrs. H. Greenough. 
1 7 Cast from the Statue of the Vatican Mercury. Athenaeum. 

" The god appears standing, with a characteristic inclination of the head, musingly regard- 
ing the affairs of mortals. A palm-stem, which serves the figure for support, seems to indicate 
that he is conceived as the director of the Palsestra. There is no other symbolic sign where- 
by he may be known, as both arms are broken off, and the attributes lost' with them. No 
drapery veils the symmetrical and wonderfully harmonious development of the organization. 
The light chlamys, used frequently as a shield for the left arm, as well as a covering for the 
body, is thrown over the shoulder, with one end wound around the fore-arm. The sublime 
serene rest which the whole figure presents, indicates the spiritual superiority with which the 
god administers his oflice. Here appears no sign of passionate emotion in the soul, although 
every feature indicates the highest tension of the whole spirit-life. This is with all his power 
repressed, which gives an appearance of rigidity. The beautiful image is inscrutable, aa the 
inner oracle of a truly great and matchless man. The realm of art scarcely possesses a' monu- 
ment of like excellence and completeness."—' Kunst-Mythologie,' by Dr. Emil. Draun. 

'• Among the statues of Mercury, the Hermes of the Belvidere has by far the first place — 
the same that went, strange to say, under the name of ' the AntinoUs of the Vatican.' It is an 
fver-young prototype of the body ennobled through athletic exercise, as the broad, glorious 
breast, the strong yet delicate limbs, the light, quiet pose, plainly indicate. But over the whole 
ligure rules a truly godlike spirit, which perfectly subordinates every special attribute. It has, 
I might say, a more lofty, eternal presence than all mortal athletes, in whom the effect of a 
completed or the preparation for a coming exertion, is conspicuous. And what a wonderful 
head I It is not only the amiable, gracious Hermes, but truly he ' dear to supernal and infernal 
gods,' the Mediator between two worlds. Therefore a shade of sadness rests upon this youth- 
ful countenance as becomes the undying Marshal of the Dead, who sees the going down of so 
much life. The sweet, youthful melancholy, which is so equivocally mix d in the AntinoUs, is 
here expressed with perfect purity."— ^wrcA-ftardt. 



STATUARY. 



ISTos. Subjects. Owners. 

18 Cast of an antique fragment of a Statue of Hercules, 

called The Torso. Athen^um. 

19 Casts of the celebrated Statues, called Day and 

Night, by Michael Angelo. Athenajum. 

The originals of Ihase casts (which form a part of the monument erected in honor of Julian 
di Medici, in the church of St. Lorenzo at Florence,) are universally considered among the 
most sublime and poetical conceptions of Michael Angelo. For minute criticisms of thia 
triumph of modern art, we would refer the reader to the description, by Vasari, and the opinion 
of other distinguished writers on the Arts. The casts were presented to the late Col. T. H 
Perkins, by our townsman, Horatio Greenough, when residing in Florence, and have recently 
been presented to the Athenaeum by the executors of the former. 

Extract from "Historical Sketches of the Old Painters." 
" Michael Angelo deeply deplored the unhappy state of Florence. The lines written by him, 
under the figure of Night, are expressive of the state of his feelings. Though the softer 
elements of his character had not been fostered by maternal kindness, there was not wanting a 
deep spring of sensibility, which circumstances sometimes caused to overflow. Under thj 
celebrated statue of Night, which had been intended for the tomb of Julian di Medici, Baptist 
Strozzi wrote the following lines : — 

" Night whom thou seest so calmly sleeping. 

Was by an Angel formed. 
Though by this marble held in keeping, • 

By life the figure's warmed. 
Yet, should thy mind of doubt partake, 

Thou need'st but speak, and she '11 awake. 

"Michael Angelo shortly after observed the writing, and with an emotion which fully 
evinced his sensibility, wrote this reply in the person of Night. 
" Grateful to me is this repose ; 

More grateful still to be of stone, 
While o'er my country evil flows, 

To see nor feel is peace alone. 
Then let me sleep o'er ills forgot ; 

Speak low I I pray thee, wake me not.^^ 



" Day's eyes are breaking bold and passionate 

Over his shoulder, and will flash abhorrence 

On darkness, and with level looks meet fate. 

When once loose from that marble film of theirs : 

The Night has wild dreams in her sleep." 

Casa Guidi Jftndotos."— Mks. Browning . 

20 Cast from the Bas-relief of Antiopa. Athenaium. 

21 The Shipwrecked Mother and Child, by E. A. Brackett. 

22 Cast of the Bust of the Colossus of the Quirinal. Athensum. 

23 Cast from the Statue of the Venus of Milo. Athen^um. 

" The statue of Aphrodite, which was iound at the beginning of this century on the Island 
of Melos, presents to us an ideal of this goddess of such august features, that the skilful, by 
close examination and reflection, arc brought to the conclusion that this type must have been 
the birth of a time in which the conception of Venus in the plastic imagination of the Greeks, 
was not yet fully wrought out, and, indeed, only prefigured. One can easily conceive that the 
age, which had brought to ripeness in a surprisingly short time the artistic ideal of Zeus, of 
Athene, of Here, and of Poseidon, c juld not be exactly in a position to incarnate a presentment 
of the Deities wholly opposite to these in idea. Evej-y thing must bide its time. Mythological 
ideas, more than all others, need time for their development. The Aphrodite of Melos is a pe- 
culiar iUustration of this fact. Indeed, the thought forces itself upon us, that we must place 



S T A. T U A K r. 



>ros. 



Subjects!. 



O wners . 



this ,n a chfTorent category from all other known statuos of Aphrodite, an.l consider it as a 
I.rophocy only of the irteal of Praxiteles. We are constrained to this conclusion if we be^rin 
after the manner of modern criticism, with an abstract consideration of the features But 
tlungs assume another appearance if we retire a little and contemplate the work as a whole 
Then the forms of the body so tnily impressive and full, and, at the same time, so tender and 
allurnig, and the attitude and keeping of the whole Kgure permit us to think only on Aphrodite 
fh.s ,,rocee,is not only from the disposal of the drapery, from the pose and the motion, but 
roin every single sweep of the noble outline. Over all we see the glory of feminine culture 
brought to the fragrant fulness which announces the perfect flower. Every spark of .self is ex 

*'"^"'f "t"' ""'^ '"•' ^'''*'' ''''"*^"' ^^ ^^^ *^'^*'''' '"^" '''^'''-^ «"« yearningly gazes. This moment 
of life .s May is so rich, .so gi-eat, so moving, that all three f-ictors of earthly existence seem to 
unite in it, and that, in this wonderful vision, a,s it were, the whole future so announces itself 
that there were neither need of any farther revelation, nor that we should have to wait for tlie 
ripening of the fruit in order to posse.ss the true and complete Avatar."— Cr. Braun's ' Kvvsi 
Mj/thologie.' 



24 Bust of Daniel Webster, by Powers. 

25 Cast from the Statue of the Piping Faun 

26 Cast of Houdon's Bust of Paul Jones. 

27 Little Nell, by Ball Hughes. 

28 Bust of Loau:mii Baldwin, by Powers. 

29 Cast of Houdon's Bust of Franklin. 

30 Cast of Venus at the Bath. 

31 Cast of Achilles' Shield, by Flaxmau. 

32 Cast of the Veiuis of the Capitol. • 

33 Cast from Houdon's Bust of Lafayette. 

34 Bust of Lyman Beecher, D. D. 

35 Cast of the Colossal Bu.st of Antinoiis. 

36 Marble Group, by H. Greenough. 

37 Cast of a Bust of Beethoven. 

38 Bu.st of Wendell Phillips, by J. A. Jackson. 

39 Bust of a Boy, by Sophia May Eckley. 

40 Cast of the Bust of Marcus Aurelius. 

41 Statue of Venus Victrix, bv H. Greenouoh 

42 Bronze Statue of Boy and Eagle, by R, Greenough. 

43 Cast from the Statue of Boy extracting a Thorn 

from his Foot. 

44 Bust by Dexter. 

45 Cast of the Bust of Charlotte Cushman. by S. AVood. 
46- The Shepherdess, by T. G. Crawford. 

47 Statuette of Dante, by Dupre. 

48 Cast from the Statue of Menander. 



Athenaeum. 
Athenteum. 
Athena3um. 
Athena;um. 
Heirs of Loammi Baldwin. 
AthenaBum. 
Athenaeum. 
E. N. Perkins. 
Athenaeum. 
Athengeum. 

Athenseum. 

C. C. Perkins. 
Athencenm. 

Athenseum. 
Athenaeum. 
Athenaeum. 

Athenaeum. 

Athena;um. 
R. M. Mason. 
C. C. Perkins. 
Athenaeum. 

" This statue, grand, yet facile in style, w the most beautiful of the seated and draped por- 
trait-statues known to us. It was found on tlie Viiuinal."— Catoto</(/e of the Vatican. 

Amongst the draped, sitting statues, those in the Vatican of the comic poets Menander anrf 
Posidippus have a conspicuous place; especially the former, who, po graceful in mien and pose, 
KO earnest and at the same tune so genial, seems prepared to appi-ar as a buffoon or as a genius! 
according as circumstances shall determine."— AwrcAAfjrrft. 



STATUARY 



IVoa. Sabjects. Owners. 



49 Bas Keliet, by Sopliia May Eckley. 

oO Dust ot Niipoleon, by T. Ball. 

tn Orpheus, in Marlde, by T. (i. Crawford. AthenaMim. 

Orphen-i liaviii^ diurnicfl (^I'rberus to sleep, presses on with sti-aining sight tlirojigh the dark 
cjiverii to tlie realm of Pluto. 

.52 Cast of the Colossal Head of Juno. Atheiueunt. 

r)3 Cast from the Statue of Minerva Polias. Athenajuin. 

Cast from the statue of Minerva Polias, feommouly called the Giustiuiani Minerva.) 

" The most famous and beaulifu! of all the statues of Pallas which have come down to in, U 
that one,— so admirably preserved in its essentials— which formerly graced the Guistiniani col- 
lection, and now Las a prominent place among the glories of the liraccio Nuovo, in the Vatican. 
The common but erroneous title of 'Minerva Medica,' arose from the fact that a serpent lies at 
her feet. This syjnbolic attribute had, in all probability, a more comprehensive signification 
than the snake of Asklei.ios, and suggests rather the serpent which was preserved on the 
Akropolis in the temple of the protecting goddess, Athene Polias, as a sacred pledge. * * * 
As well as protector of the olive-tree, she was also worshipped as the Goddess of Peace, and aj 
such is she represented in this statue. 

"The expression of her august features is mild aud lovely; but the concentrated, earnest 
look announces clearly the firmness with which she knows how to defend peace and order, should 
these priceless benefits to her favorite state be at any time endangered from without. 

" The .spiritual power wliich Pallas represents, seems in tliis sculpture to reach its highest 
expression. 8!u' reveals herself as Poetical Wisdom, and illustrates in tlie most perfect manner 
the lofty conception w hich the Ancients liad of the higher economies. While Zeus reigu.s in 
heaven, 3Iinerva is his vicegerent on earth. The father of gods and men is the central motive 
I)Ower of integral humanity, while Pall.'is assumes the protectorate of individual states, as well 
as elect heroes, and is helpful and propitious to all those which are the repositories and patrons 
of Hellenic culluie ; whUe all those which are barbaric, rude aud overbearing, are her aversion. 
What sentiments and feelings are well-pleasing to her, a glance at this image— so earnest, bO 
exalted, and yet so gnK-ivus—'MicheH."—'Kunst-Mi/thologie,' von Vr. Endl. llraun. 

r»4 Cast from the Statues of Autinous. Athenajuni. 

hb Cast of a Colossal Head of Jupiter. Athenaeum. 

.56 Innocence, by Bieu-aime. 1^> ^^- Mason. 

.57 Cast of the Statue of Silenus with the Infant Bacchus. Athenajum. 

This is numbered among the most celebrated productions of ancient art. 

" The Borghesc Silenus is, beyond question, the noblest of all the images of the instructor of 
Bacchus which have come down to us. ]t is one of those glorious, purely-human representations 
which perfectly content the eye, the understanding, and the feelings. The invention, arrange- 
ment, purity of the outlines, and consummate elegance of the forms, equally demand praise and 
e.\.cite astonishment. From the workmanship generally, and from the hair in particular, we 
may infer that this work belongs to the most flourishing period of art. It may also be reckoned 
among those which h.ave been admirably well preserved. It was found among the ruins of the 
garden of t'allust." 

In regard to the statue, Visconti remarks : — 

* * * " Images which represent the primitive Silenus are rare. Although the poets and 
writers of satires travesty him as old, very fat, and pot-bellied, resembling a wine-skin, deformed, 
as Lucian caricatures him, and as he is often rei)resented on bas-reliefs, in the Bacchic scenes, 
upon Sarcophagi, so common in museums, still the original character of Silenus is nmch more 
noble, since he is understood to have bred and educated Bacchus or Dionysus, in whom is per. 
, sonified the uncivilized state of the world, and its passage from a rude to a more cultivateKl 
condition. * * * In the more ancient Thcogony, Silenus was regarded as the depository of 



STATUARY. 



nSTos. Subjects. Owners. 



science, which, in Iiis capacity of Instructor, he communicated to Bacchus, who made use of it 
to civilize mankind, still in a rude and savage state. 

"This (igiirp, which falsities all the erroneous notions entertained of Silenus, shows him in 
his original character as the Ibstcr-father and instructor of Bacchus. Now this latter, taken in 
a moral sense, is nothing more than a symbol of the refinement of the world from a state of 
barbarism, and the former is a symbol of the knowledge which had nurtuVed, guided, and as- 
sisted him. Like his foster-child, he is naked; his aspect is noble and affectionate, as suitable 
to the educator of a god, whom ho holds in his arms and presses to his bosom. The child is 
caressing him in turn, and gracefully extends iiis hands to the other's cheeks. His head i.<i 
bald; the goat-ears,— denoting an origin in common with the Satyrs and Panisci, and partak- 
ing of the bestial and the human,— and the panther's skin, upon the left arm, are attributes 
which show that Silenus possesses two natures, a mortal and a divine, a material and an intel- 
lectual. His nose is flat, his face broad, and the expression composed of hilarity, benevolence, 
and sagacity. The wreath of ivy-leaves and ivy-borries around the head of each, tells of the 
perpetual youth of Bacchus, and the strength and sweetness of the bonds with which barbar- 
ism binds the minds ol men." — Notes to Lodge's translation of TFinckleman's History of 
Ancient Art. 

68 Cast from a Statue of an Athlete. Athengeiim 

" The Athlete, a semi-colossal statue, was found in the Vicolo deile Palme in the Trastevere , 
So admirably had this statue been preserved, that although one arm and both legs were broken, 
none of the pieces were missing, and the only restoration necessary was a small fragment of 
the nose, which has boon carefully added by Professor Tenerani. It is of Greek marble, and 
represents a wrestler, or athlete, in the act of cleaning his arm with a strigil. Signor Canina, 
the director of the excavation in which it was found, and the Roman artists generally, regard 
it as a work of the highest art, and declare it to be the prbductioaof Lysippus (B. C. .325», 
which is said, by Pliny, in the 34th book of his KatuiiT History, to have so pleased Tiberius, 
that the Emperor caused it to be transported from the batlis ot Agrippa to his own palace. To 
the objection that Pliny's description applies to works in bronze, and not to works in marble, 
Canina replies, that it may be a repetition of a bronze by Lysippus, whose well-known boa;t 
that he represented men not in their perfect forms, but such as they appeared, is considered 
very applicable to this figure. If this hypothesis be correct, the statue is the first work of Ly- 
sippus which has come down to us, and is additionally interestingas being one of the few men- 
tioned by Pliny. Whatever be its origin, it is the only example which has yet been found, in 
statuary, of an Athlete smoothing or cleaning his skin with a strigil, though many pictures of 
such figures are to be seen on Etruscan vases. The present statue is holding the strigil with his 
left hand, and is polishing with it his right arm which beholds extended for the purpose. His 
countenance is ideal ; his liead is rather small, his neck rather thick, and his shoulders show 
vigor and force, while his legs hardly surpass the natural size. This apparent incongruity is 
explained by the Roman artists as indicating that the sculptor wished to represent not only a 
wrestler but a runner; his strength being shown by the size of his shoulders, his small head, 
and his short nock, as in the statues of Hercules ; whiio his lightness and quickness in running 
are shown by his logs, which are strong, nervous, and rather long."— Murray. 

59 Cast from the Statue of the Barberini Faun, asleep. Athenaeum. 

" The beautiful Barborini sleeping Faun is no ideal, but an image of simple, unconstrained 
nature." — Wincklemunn. 

" The sleep in which he lies sunk after fatigue, and the relaxation of all the muscles of the 
limbs, are expressed in a manner which cannot be improved ; it is, indeed, inimitable. We can 
almost hear the deep respiration, see how the wine swells the veins, how the excited pulses 
beat." 

60 Cast from the Statute of Demosthenes. Athenaeum. 

" The great orator of Greece is represented in this figure with all the nolnlity and perfoctiou 
of Art, which appears, above all, in the expression of the countenance and in the anatomy ot 
the left arm. it was found in the Villa Aidobrandini, at Frascati. " — ru/ican Ciitalogue. 



Nos. 



STATUARY. 



Subjects. OwTxers. 



61 Cast of the Statue of Sophocles. Athenaeum. 

62 Cast from the Statue of the Fighting Gladiator. Athenaeum. 

63 Cast from the Statue of Discobolus. Athenaeum. 

64 Cast from the Statue of Discobolus. Athenaeum. 

65 Cast from the Statue of the Dying Gladiator. Athenaeum. 

Montfaugon and Maffei supposed that it is the Statue by Ctesilaus, the contemporary of 
Phidias which Pliny describes as " a wounded man dying, who perfectly expressed how much 
life was remaining in him." — Murray. 

One of the most accurate of critics, John Bell, describes the anatomy of the dying Gladiator 
as perfect in every respect. " It is," he says, " a most tragical and touching representation, 
and no one can meditate upon it without the most melancholy feelings. Of all proofs this is 
the surest of the effect produced by Art. Although not colossal, the proportions are beyond 
life, perhaps seven feet; and yet from its symmetry it does not appear larger than life Ihc 
forms are full, round, and manly; the visage mournful; the lip yielding to the effect of pain; 
the eye deepened by despair ; the skin of the forehead a Uttle wrinkled ; the hair clotted in thick, 
sharp-pointed locks, as if from the sweat of fight and exhausted strength ; the body large; the 
shoulders square; the balance well preserved by the hand on which he rests; the hmbs firm y 
rounded; the joints alone are slender and fine. No affectation of anatomy here; not a muscle 
to be distinguished, yet the general forms perfect as if they were expressed. The only anaton>- 
ical feature discernable is that of full and turgid veins, yet not ostentatiously obtruded, but seen 
slightly along the front of the arms and ankles, giving, like the clotted hair, proof of vioent 
exertion. The singular art of the sculptor is particularly to be discerned in the extended leg; 
by a less skilful hand the posture might have appeared constrained ; but here, true tp nature 
the limbs are seen gently yielding, bending from languor, the knee sinking from weakness, and 
the thigh and ankle-joint pushed out to support it. The forms of the dying Gladiator are not 
ideal or exquisite, like the Apollo; it is all nature, all feeling 1 It was found at Porto d'Anz.a. 
by Cardinal Albani, about 1770, and was for some time in the gallery at the Villa Ludovisi, fron. 
which it was purchased by Clement X\l."— Murray. 

" I see before me the Gladiator lie: 
He leans upon his hand — his manly brow 
Consents to death, but conquers agony, 
' And his drooped head sinks gradually low — 

And through his side the last drops, ebbing slow 

From the red gash, fall heavy, one by one. 

Like the first of a thunder-shower ; and now 

The arena swims around him — he is gone. 

Ere closed the inhuman shout which hailed the wretdi who Won. 

He heard it, but he heeded not — his eyes 

Were with his heart, and that was far away ; 

He recked not of the life he lost, nor prize. 

But where his rude hut by the Danube lay. 

There were his young barbarians all at play. 

There was their Uacian mother — he, their sire, 

Butchered to make a Roman holiday. 

All this rushed with his blood — shall he expire. 

And unavenged ? Arise, ye Goths, and glut your ire !" 

—Childe Harold. 

66 Bronze Cast 'from the Mask of Napoleon's Face. Athenaeum. 

67 Venus di Medici. Presented by Mrs. Geo. G. Lee. Athen^nm. 
■ 68 Cast from the Statue of Thorwaldsen's Venus. Athenaeum. 



PAINTINGS ON THE STAIRCASE. 



[owned by the athe\.eum.] 




4 

.0 

6 
7 
8 

- 9 
30 
11 
12 
13 
14 
15 
- U 
11 
18 
1% 

20 

21 

22 

23 

24 

25 

26 

27 

28 

29 

30 



The Angel warning Joseph to flee into Egypt, 
A, Caracci. 

Holy Family, after Murillo. 

The Indian Captive. 

King Lear. 

The Cottage Grandfather. 

Judith with the Head of Holofernes, after Gui 

Playing at Marro. 

Hagar and Ishmael. 

T4]e Angel appearing to the Shepherds. • 

Christ curing the Blind. 

St. Paul. 

Daniel Webster. 

Chief Justice Marshall. 

Go\. Winthrop. 

Jacob at the Well, after Murillo, 

The Archangel binding Satan, after Guido. 

Landscape. 

Storm and Shipwreck. 

Sheep. 

Flaying of Marsyas. 

Landscape, 

Patrick Lyon. 

The Garden of Love. 

Holy Family. 

New York Scenery. 

Garden Scene. 

Portrait of Guido, after Guido. 

Fruit and FloAA^ers. 

Flowers. 

Washington. 



after 



do. 



R. W. Weir. 
Benjamin West. 
Russell. 



T. Cole. 



C. Harding. 
C. Hardins:. 



Chatelaine. 

Hue. 

Lucca Giordano 

Neagle. 



A. Fisher. 
Watteau. 

Peter Boel. 



PAINTINGS IN THE GALLERY. 



[owned by the ATHENjEUM.] 



Nos. 



Subjects. 



J?kjrtists. 



31 Landscape. 

32 Playing the Guitar, after Metzu. 

33 Playing the Violin, after Tcniers. 

34 Portrait of Vandyck, by himself. 

35 The Student. 

36 Isaac of York. 

37 Sir Charles Hobby. 

38 William Smith Shaw. 

39 Christ and the Woman of Samaria. 

40 William Wirt. 

41 Gilbert Stuart. 

42 Benj. Franklin. 

43 Rembrandt, after Rembrandt. 

44 Head of Annibal Carracci. 

45 Portrait of Rembrandt. 

46 Martyrdom of St. Sebastian, after Guido. 

47 Interior of St. Peter's. 

48 Martha Washington. 

49 Washington. 



T. Doughty. 
J. G. Chapman. 
J. G. Chapman. 

Allston. 

Alls ton. 

Sir Peter Lely. 

Stuart. 

H. Inman. 

Neagle. 

Greuze. 



Panini. 
Stuart. 
Stuart. 



" A letter of Stuart's, which appeared in the New- York Evening Post, in 1833, attested by three 
gentlemen of Boston, with one from Washinjjton, making the appointment for a sitting, proves 
the error long current in regard both to the dates and the number of this artist's original 
portraits of Washington, lie there distinctly states that he never executed but three from life, 
the first of which was so unsatisfactory that he destroyed it; the second was the picture for 
Lord Lansdowne; and the third, the one now belonging to the Boston Athenaeum. The tinieh- 
ing touches were put to the one in September, 1795, to the other, at rhiladelphia, in the Spring 
of 1796. This last, it appears by a letter of Mr. Custis, which we have examined, was undertaJteii 
against tlie desire of Washington, and at the earnest soliciUtion of his wife, who wished a por- 
trait from life of her illustrious husband, to be placed among the other family-pictures, at Mount 
Vernon. For this express purpose, and to gratify her, the artist commenced the work, and 
Washington agreed to sit once more. It was left, intentionally, unfinished, and when aubae- 
quently claimed by Mr. Custis, who offered a premium upon the original price, Stuart excoseU 
himself, mucli to the former's dissatisfaction, on the plea that it was a requisite legacy for hi* 
children."— Puinam's Magazine, 1855. 



50 Head of a Jew. 



Allston. 



10 



PAINTINGS. 



i«iros. 



Subjects. 



A.rtists. 



51 
52 
53 
54 
55 
-56 
57 
58 
59 
60 
61 
62 
63 
64 
65 
66 
67 
68 
69 
70 
71 



James Perkins. 

Benjamin West. 

Picture Gallery, containing Views in Modern Rome 

Hannah Adams. 

Landscape with Figures, after Cuyp. 

Mrs. Siddons and Fanny Kemble. 

Landscape, with Figures. 

The Arch of Octavius. 

Lawrence Washington. 

The Independent Beggar. 

Commodore Hull. 

Judith with the Head of Holofernes, after C. Allori. 

Interior of a Chapel. 

Capture of a French Ship by Lieut. Hull. 

Rammohun Roy. 

Priam receiving the dead body of Hector. 

Ecce Homo. 

William Tudor, after Stuart. 

The Young Artist. • 

Mount Washington.. 

Miniatures. 



Stuart. 

Allston. 

Panini. 

C. Hardingr. 



Ruysdael and Berghem. 
A. Bierstadt. 



L. L. Waldo. 
Stuart. 

Frazer. 
Salmon. 
R. Peale. 
Trumbull. 

T. Sully. 

T. M. Bumham 

W. A. Gay. 

Saunders. 



THE DOWSE COLLECTION. 

[owned by the athen^um.] 



INTos. 



Subjects. 



Artists. 



72 Portrait of Thomas Dowse. 

73 Infant Christ, after Guido. 

74 Christ appearing to St. Peter. A. Caracci, 

75 Incredulity of St. Thomas, after Vanderwerf. 

76 Landscape with Figures, after Claude. 

77 Meeting of Mary and Elisabeth, after S- Del 

Piombo, 

78 Girl with a Hoi-n-book, after Schidone. 

79 A Female Head, after Giotto. 

80 Madonna and Child, after Raphael. 

81 Windmill, after Rembrandt. 

82 Allegory of Lluman Life, after Titian. 

83 Death of Regulus, after Salvator Rosa. 

84 Rachel secreting the Household Gods of Laban, 

after Murillo, 
'85 Landscape with Rainbow, 'after Rubens. 

86 Landscape, after Claude. 

87 St. Amand receiving St. Babo, after Rubens, 

88 Village Festival, after Wouvermans, 

89 Fete on the Water at Dort, after Cuyp. 

90 David with the Head of Goliah, after Guerciuo. 

91 Landscape and Figures, after Claude. 

92 Flowers. 

93 Flight into Egypt, after A. Caracci. 

94 Portrait of Berghem, after Rembrandt. 

95 Holy Family, after Raphael. 

96 Portrait of Gaston De Foix, after Giorgione. 

97 Madonna, Child, and St. John, after Raphael. 

98 Baptism of Christ, after Domenichino. 
. 99 Head of a GirL 

100 The Happy Shepherds, after Berghem. 



M. Wight. 

Violet. 

Hodgson. 

Eusebi. 

Craig. 

Tomkins. 
Tomkins. 
Satchwell. 
Hodgsoa. 
Craig. 
Tomkins and Anaell. 
Craig. 

Craig. 
Craig. 
Craig. 
Uwins. 

W. WestalU 

Tomkins. 

Craig. 

Specckaert 

Craig. 

Evans. 

Hodgson. 
Tomkins. 

M. Greuae. 
Craig. 



12 



PAINTINGS. 



Nos. 



Subjects. 



jf^rtists. 



101 Lot and his Daughters, after Guido. Tomkins and Hodgson. 

102 Rachel secreting the Household Gods of Laban, 

after P. Da Cortona. Violet. 

103 Landscape and Figures, Mid-day, after Claude. Craig. 

104 Danae, after Titian. Tomkins and Hodgson. 

105 Interior of a Cottage, after Ostade. Strutt, 

106 Samuel and his Mother, after Rembrandt. Violet. 

107 Christ calling Peter and Andrew, after Domenichino. Hodgson. 

108 The Smokers, after Teuiers. Strutt. 

109 Holy Family, after Bordone. Tomkins and Ausell. 

110 Woman taken in Adultery, after Rubens. Uwins. 

1 1 1 Portrait of Himself, after G. Dow. Craio-. 

112 The Story of Calisto, after Poussin. 

113 Diana and Acteon, after Titian. Violet and Tomkins. 

114 Jesus led from the Garden of Gethsemane by the 

High Priest, after Guercino. 

115 Fruit. 

116 Madonna and Child. 

117 Vision of St. Austin, after Garofolo. 

118 Head of a Girl. 

119 Sunset. 

120 Christ in the Sepulchre, after Guercino. 

121 Madonna and Child, after Raphael. 

122 Madonna, Infant Christ, and St, John, after An- 

drea Del Sarto. 

123 Heads of Apostles, after Giotto. 

124 Madonna, Infant Christ, and Saint, after Cimabue. 

125 Nativity, after Guirlandajo. 

126 Holy Family. 

127 Landscape and Figures, after P. Potter. 

128 Madonna and Child, after Correggio. 

129 Madonna, Infant Christ, Elizabeth, and St. John, 

after A, Del Sarto. 
129^ Marriage of St. Catherine, after Parmigiano,. 



L. Hysum. 

Hodgson. 
Grimani. 

Violet. 
Tomkins. 

Tomkins. 
Satchwell. 
Satchwell. 
Hodgson. 

Craig. 
Tomkins. 



Tomkins^ 
Hodgson- 



P A I N T I K G 



13 



N"os. 



Subjects. 



7?Lrtists. 



Owners. 



PAINTINGS IN THE GALLERY.— Continued. 



130 Miss Dix. S. Cheney. 

131 Una. Allston. 

132 Dido and Anna. Allston. 

133 Lorenzo and Jessica (unfinished). Allston. 

134 Landscape (unfinished). Allston. 

135 Belshazzar's Feast (study). Allston. 

136 Christ healing the Sick. Allston. 

137 Female Head (unfinished). Allston. 

138 Madonna di Faligno, after Raphael. 

139 Death of King John (unfinished). Allston. 

140 Cupid with the Helmet of Mars, 

after Rubens. Allston. 

141 Landscape — outliue — Allston. 

142 The Troubadour. Allston. 

143 The Marriage-Feast, at Cana, after 

P. Veronese. Allston. 

144 Study of a foot. Allston. 

145 The Prophetess. Allston. 

146 The Court of Titania. Allston. 



Athenaeum. 
Mrs. Allston. 
Mrs. Allston. 
Mrs. Allston. 
Mrs. Allston. 
Mrs. Allston, 
Mrs. Allston. 
Mrs. Allston. 
Rev. L, Shepherd. 
Mrs. Allston. 

Mrs. Allston. 
Mrs. Allston. 
Mrs. Allston. 

Mrs. Allston. 
Mrs. Allston. 
Mrs. Allston. 
Mrs. Allston. 



BUSTS. 



The following Busts of Iloman Emperors, (the property of Dr. Jacob Bigelow, 
of Boston,) were cast from the original marbles, at Rome and Florence. 

147 Julius Caesar, Florence. 

148 Julius Cassar, Capitol, Rome. 

149 Augustus — young. 

150 Augustus — old. 

151 Tiberius. 

152 Caligula. 

153 Claudius. 

154 Nero. 

155 Galba. 

156 Otho. 

157 Vitellius. 

158 Vespasian. 

159 Titus. 

160 Domitian. 

161 Nervo. 

162 Trajan. « 

163 Hadrian. 

164 Antoninus Pius. 

165 Marcus Aureliu.^. 

166 Commodus. 

167 Caracalla. 

168 Diocletian. 



PAINTINGS IN THE GALLERY. • 

A priced list of pictures for sale is left with the Door-keeper. The 
Director will be at the Gallery at 9 o'clock, A. M. ; also from 1 till 2, 
P, M., and at 5.30, P. M. At all other hours during the day he may be 
found at his Studio, 16 Summer Street. 



Nos. Subjects- ^rtist^s. OvT^ners. 

-169 The Shadow Dance. Fabronius. 

1 70 Portrait. Copley. Mrs. Cobb. 

171 Portrait. Unknown. C. C. Perkins. 

172 St. Peter delivered from Prison. Allston. Dr. R.W. Hooper. 

" And behold, the angel of the Lord came upon him, and a light shined in the prison ; and he 
smote Peter on the side, and raised him up saying, Arise up quickly. And his chains fell off 
from his hands." — Acfsxii, 7. 

173 The Toilet, after Titian. Axenfeld. A. Heard, Jr. 

174 Portrait. Copley. Mrs. Cobb. 

175 A Sybil. 

176 Lake Nemi. Turlink. C. C. Perkins. 

177 Portrait of a Grandee. C. C. Perkins. 

178 The Golden Age. Lucca Giordano. Athenaeum. 

The nine following Water Color Paintings, are copies of Raphael's Vatican " Stanze" Fres- 
coes, executed by Nicola Conzoni, and ;under his superintendence) by several ofthe best young 
Roman Artists. 

179 The Miracle of Bolsena. C. C. Perkins. 

Illustrating the infallibility of the Church doctrines, by the representation of the miracle of 
the Bleeding Wafer. The Pope praying at the altar is Julius 2nd. 

180 Expulsion of Heliodorus from the Temple. C. C. Perkins. 

Maccabees, book 2nd, chapter 3rd, typifies the triumph of the church over her enemies, 
* through the sword of the war-like Pope Julius 2nd, who, despite the anachronism, is borne into 
the temple on a chair of state, and serves to make an admirable contrast with the wild terror 
and disorder around, by the unmoved aspect of himself and his bearers. 

181 Attilla arrested at the gates of Rome, by St. Leo 1st. C. C. Perkina. 

Above whom appears St. Peter and St. Paul to the terror oi the barbarians. 1 he Pope is a 
portrait of Leo X, and the fresco allrdcs to his victory over Louis XIII, in 1513, when the 
French were driven out of 3Iilan. 

182 Theology, or the " Disputa del Sacramente." C. C. Perkins. 

Is a discussion of Theological Tenets, by a crowd of Popes, Pishops, Monks, and Laymen. 
The four fathers of the Latin Church, sit near the altar. Among the portraits introduced are 
those of Raphael, Perugino, Dante, &c. In the upper part of the picture is represented the 
Trinity with the Virgin and St. John the Baptist. The ten figures on either hand represent 
Patriarchs and Evangelists ; the latter have golden glories about their heads. Painted in 1508, 
when liaphael was 24 years old. 

183 Philosophy, or the School of Athens. C. C. Perkins. 

Represents the discussion and demonstration of Philosophical Tenets, by the greatest Grecian 
Philosophers and their followers. Plato and Aristotle, Socrates, and Alcibiades, Pythagoras 



16 



PAINTINGS. 



N"os. 



Subjects. 



A.rtists. 



Ownez's. 



and Empedoeles, Archimedes, Ptolemy, and Diogenes are here represented as setting forth 
and listening to the exposition of their various sciences. Among the Portraits are those of 
Raphael and Perugino, the Dulcc of Urbino and the Duke of Mantua. 

184 Jurisprudence, or three Virtues. ,C. C. Perkins. 

Prudence, Forfitude, and Temperance, occupy the space over the window. Below on tlie 
right of the picture, Justinian presents the Pandects to Tribonian, typifying Civil Law. On the 
left Gregory IX delivers the Decretals to the consistorial advocate, typifying Canon Law. The 
Pope is a portrait of Julius 2nd. 

185 The deliverance of St. Peter from Prison. C. C. Perkins. 

Alludes to the captivity and imprisonment of Leo X, after the battle of Itavenna, whilst be 
was Cardinal and Legate to the Court of Spain. 

186 The Sacrifice of Abraham. C. C. Perkins. 

187 Virgil and Dante meeting Homer, 

Flaccus, Ovid, and Lucan. 



" When thus my master kind began :— ' Mark him 
Who in his right hand bears the falchion keen. 
The other three preceding their lord. 
This is that Homer, of all bards supreme: 
Flaccus the next, in satire's vein excelling. 
The third is Naso; Lucan is the last.'" 

188 Ignatius Loyola. B. Goz. 

189 St. Cecelia. 

190 Adam and Eve after their expulsion 



C. C. Perkins. 



Mr. Greenleaf. 
Mrs. Griffin. 



from the Garden of P^den. 

191 Roman Campagna. 

192 Morning. 

193 Head. 

194 The Singing Party. 

195 A Lady Fainting. 

196 Jacob at the Well. 

197 Charity. 

198 Night.' 

199 Hon. Danl. Webster. 

200 Landscape and Figures. 

201 Head. 

202 Correggio's "Madonna della 

Notte." 

203 The Blessing. 

204 Landscape. 

205 Landscape and Figures. 

206 The Adulteress. 

207 A Philosopher in his Study. 

208 An aged Prisoner and his 

Daughter. 

209 Portrait. 

210 Portrait. 



C. Blaas. 
Benouville. 
Francis Schevrer. 



C. C. Perkins. 

C. C. Perkins. 

-1762. For Sale. 

C. C. Perkins. 
Hals von Mechlin.--1588. For Sale. 
F. Boucher. For Sale. 

Elzheimer. — 1574. For Sale. 
Theresa Eiselt.— 1814. For Sale. 
Francis Scheyrer. — 1762. For Salco 
J. Ames. 



Borch. 



Barrocci. 



Athenaeum. 
C. C. Perkins. 

Athenaeum. 



Allston. Athenaeum. 

Karl du Jardin. Athenasum. 
L. Cranach.-1472. For Sale. 
F. Cordiiba.--1650.For Sale. 

F. Trevisani — 1656. For Sale. 
Athenaeum. 
W. M. Brackctt. J. P. Couthoy. 



PAINTINGS 



17 



l^os. 



Subjects. 



A.rtists. 



Owners. 



211 Portrait. 

212 Lanj^scape and Figures. Zuccharelli. 

213 Sodom, Lot's Flight, Gerbrand Van den Eck- 

hous — 1621. 

214 A Dutch Kitchen. 

215 Descent of the Holy Ghost. Luke of Leyden. 

216 Silenus teaching Love Music. Rubens. 

217 Study for an Angel. J. C. Freeman. 

218 Moses. Guercino. 

219 Ben Huish. W. A. Westfield. 

220 Holy Family, after Correggio. 



Athenaeum. 
AlhensBum. 
■ For Sale. 

Athenaeum. 
Mrs. J. P. Davis, 
Mrs. J. P. Davis. 
C, C. Pei'kins. 
Athenaeum. 
C. C. Perkins. 
C. C. Perkins. 



Albertus Altdorfer — 1488. For Sale. 



221 A Crucifixion. 

222 Landscape. Boquet, Athenseum. 

223 Forest of Arden, a Passing 

Storm, F, H. Henshaw, R. W. Henshaw. 

224 Sandwich Woods. Gay. T. G. Appleton. 

225 View of the Capucin's Garden, 

Albano. G. L. Brown. M. J. Whipple. 

226 Vue dAuvergne. Watelet. A. Heard, Jr. 

227 Dante and Beatrice. Ary Scheffer, C, C. Perkins, 

228 R. W. Emerson. T. R, Gould, T. R. Gould, 

229 Belshazzar's Feast, Allston. Mrs. AUston. 

" It is known that Mr. Allston began the picture in London, before his return to his native 
country, and had very nearly finished it here, fifteen or twenty years ago. Being obliged to quit 
the room in which he worked upon it, and unable immediately to find another large enough for 
the purpose, the picture was rolled up and laid aside. Various circumstances prevented his re- 
suming the work until within a few j'ears before his death. At one period it was considered 
♦ by himself as requiring not many weeks labor to complete it. In that state it was seen by 
some friends, to whom it appeared a finished picture. For some reason, however, the artist 
thought that the effect of the composition would be improved by a change in the perspective, 
and, in connection with this, an eidargement of the figures in the foreground. With this view, 
the King, the Queen, and the Soothsayers, were to be repainted. He undertook the labor, and 
the entire figure of the King, except the left foot, and the heads of the Soothsayers were erased. 
What progress he had made in restoring these, will be readily seen, as the picture is in every 
respect as he left it, except the original figure of the King, now pumiced down so as to leave 
little more than the first color, was found covered \vith a uniform coat of dead color, which com- 
pletely obliterated even the outline ; and of the new figure, he had repainted, but not finished, 
only the right hand." 

* * ******** 

" Upon the head of the Soothsayer, who faces the spectator, are the last touches ever made 
by the pencil of the artist, and but a few hours before his death."— 1845. 

230 Baden Baden. Kotsch. Joshua Stetson. 

231 Gov. Andrew, T, R. Gould, Mrs. Andrew, 

232 Lap : Di'Horange P^, N. Perkins. 

233 Signora De Werve. * E. N. Perkins. 

234 View on the Altena. Bierstadt, For Sale. 

235 Fish. W, A. Brackett. E. P. Jeffries. 

236 Canal Scene, Venice, A. H, Bicknell. For Sale. 



18 



P A 1 NTINGS 



!N"os. 



Sxabjeots. 



j^rtists. 



Owners. 



237 Landscape. 

238 Morning. 

239 Mt. St. Michael. 

240 Innocence. 

- 241 Landing of the Huguenots in 
Florida, 1564. 

242 Florinde. 

243 Billet Doux. 

244 Scene from Longfellow's " Hes- 

perus." 

245 Palermo. 

246 Abigal bringing gifts to David. 

247 Cattle. 

248 Sunset. 

249 Landscape. 

250 Mt. Mansfield. 

251 Magdalen. 

252 Roman Forum. 

253 Colonel R G. Shaw. 

254 Portrait. 

255 Venice by Moonlight. 

256 The Rag-pickers. 

257 View on the Campagna, near 

Rome. 

258 Rev. Dr. Holly. 

259 A Zouave. 
2i0 Macbeth. 

261 Sanbornton River. 

262 Tremont Street on a Foggy Night. 

263 Fowls. 

264 Venetian Market. 

265 Landscape. 

266 A Quiet Lane. 

267 A Study of Trees. 

268 Autumn. 

269 Repose. 

270 A Portico of the Doge's Palace, 

Venice. 

271 Landscape. 

272 A Turkish Scene. 

273 Sheep. 

274 The Lover. 



R. H. Fuller. 


For Sale. 


Fred. Williams. 


For Sale, 


Eschke. 


For Sale. 


Geo. C. Lambdin 


. T. G. Appleton. 


Edwin White. 




Winterhalter. 


Wm. H. Webb. 


H. G. Wilde. 


T. G. Appleton. 


Jas. Hamilton. 




G. L. Brown. 


T. G. Appleton. 


L. Terry. 


For Sale. 


Robbe. 


T. Wigglesworth, 


Kensett. 




Geo. Curtis. 


For Sale. 


Gifford. 


For Sale. 




C. C. Perkins. 


Nichols. 


G. W. Wales. 


Wm. Pi^e. 




J. Ames. 




G. L. Brown. 


G. W. Walea. 


Saintin. 


A. Heard, Jr. 


G. L. Brown. 




Stuart. 


M. Wight. 


A. Fredericks. 


For Sale. 


Frost. 


For Sale. 


F. Williams. 


Chas. Hale. 


Couturier. 


T. G. Appleton. 


A. H. Bicknell. 


F. Shimmin. 


Chajupney. 


M. J. Whipple. 


F. H. Shapleigh. 


For Sale. 


B. F. Nutting. 


For Sale. 


Kensett. 


T. G. Appleton. 


Diaz. 


A. Heard, Jr. 


A. H. Bicknell. 


T. Robinson. 


Brissot. 


T. G. Appleton. 


Diaz. 


T. G. Appleton. 


Gay. 


T. G. Appleton. 


Bennington. 


T. G. Appleton. 





PAINTINGS. 


19 


N"os. Subjects. 


-Ajrtists. 


Owners. 


275 


Requiem of De Soto, 


Edwin White. 




276 


River Esopus. 


Shattuck. 


For Sale. 


277 


Moonlight. 


Casilear. 


For Sale. 


278 


View on the Androscoggin. 


Coleman. 


For Sale. 


279 


Landscape. 


Champney. 


For Sale. 


280 


Sketch. 


W. M. Hunt. 


M. J. Whipple. 


281 


Capture of the Serapis by Paul 






Jones. 


Jas. Hamilton. 


For Sale. 


282 


View at Altorf, Switzerland. 


G. L. Brown. 


For Sale. 


283 


The Housatonic, near Milford. 


J. R. Brevoort. 


For Sale. 


284 


The Promenade. 


Lazarus. 


For Sale. 


285 The Fallkill. 


C. Ogilvie. 


For Sale. 


286 


The Toilet. 


Lazarus. 


For Sale. 


287 


Landscape. 


J. Pope. 


For Sale. 


288 Scene on the Island of Capri. 


G. L. Brown. 


For Sale. 


289 


The Drinking Party. 


Sweback. 


For Sale. 


290 


Fruit. 


G. H. Hall. 


For Sale. 


291 


Landscape. 


Champney. 




292 The Acrobats. 


Martin. 


For Sale. 


293 


Landscape. 


Ogilvie. 




294 


Shore Scene. 


Bradford. 




295 Calabrian Girl. 


C. G. Thompson. 


G. W. Wales. 


296 


Italian Portrait. 


Unknown. 


G. W. Wales. 


297 


Sunday Morning. 


Sappentez. 


For Sale. 


298 


Vanity. 


Bileverti. 


G. W. Wales. 


259 


Landscape. 


R. H. Fuller. 




300 


Flowers. 


R. M. Pratt. 


For Sale. 


301 


Landscape. 


Soolmaker. 


E. N. Perkins. 


302 


The Importunate Author. * 


Stewart Newton, 


E. N. Perkins. 


303 


Coast of Norway. 


Melby. 


For Sale. 


304 


Portrait. 


J. Pope. 




305 


H. Greenough. 


J. G. Chapman. 


Athenaeum. 


306 


Psyche. 


W. S. Mason. 


J. Harrison. 


307 


The Village Betrothal after 








Greuze. 




T. G. Appleton. 


308 


Sheeps and Landscape. 


DeBeul. 


T. Wigglesworth. 


309 


Mt. Palatus. 


G. L. Brown. 


For Sale. 


310 


Prairie Flow.ers. 


J. Thompson. 


R. Butler. 


J ^311 


A Foggy Morning. 


F. H. Lane. - 


T. Wigglesworth. 


312 


Flowers. 


W. T. Mathews. 


For Sale. 


313 


Flowers. 


W. T. Mathews. 


For Sale. 


314 The Sign of Promise. 


Geo. Inness. 


For Sale. 



20 



PAHiTTINGS 



l^os. 



Subjects. 



-Ajrtists. 



O^wners. 



315 Twilight. 
31 G The Kitchen. 

317 Flowers. 

318 View on the Connecticut. 

319 Crucis Abbey, Llangollen, Wales. 

320 Portrait of a Dog. 

321 Madonna and Child,with Joseph 

322 Madonna and Child, with Angel. 

323 Portrait. 

324 Head. 

325 Spanish Boys. 

326 Forenoon. 

327 Valley of the Seven Churches, 

Ireland. 

328 Birnam Wood. 

• 329 St. Peter delivered from 

Prison. C. 



C. C. Colman. 
C. C. Colman. 
A. H. Bicknell. 
Sontag. 

F. H. Henshaw. 
Hinkley. 

Sch'l of Perugino. 
Botticeli. 

J. Pope. 

G. n. Hall. 

A. H. Wenzler. 

F. H. Henshaw. 
Geo. Cole. 



For Sale. 
For Sale. 
S. H. Allen. 
A. Wigglesworth. 
R. W. Henshaw. 
G. W. Wales. 
G. W. Wales. 
G. W. Wales. 
Hancock Family. 



For Sale. 

R. W. Henshaw. 
T. Wigglesworth. 



" And he went out and followed him, and wist not it was true which 
but thought he saw a Vision."— Acts xii, y. 



G.Thompson. Mrs. Emma Burridge. 

was done by the angel, 



330 Christ. T. R. Gmild. 

331 Satan. T. R. Gould. 

332 Charles the First, demanding, in 

the House of Commons, the Five 



Impeached Members. 

333 Landscape. 

334 The Alps Hunter. 

335 Charity. 

336 Sunset. 

- 337 Harvesting near Moret, France. 
338. Game. 

339 The Fagot Gatherer. 

340 Portrait. 

341' The Castle by the Sea. 
342 Hon. Charles Sumner. 
^343 New York Bay. 
344 Venice. 

, q^K " ^^® ^^^^ ^* ^^® '^^'^ drank his fill, 

'. "*" Where danced the moon on Monan's rill." 

— Lady of the Lake. 

346 The Purchaser. 

347 The Connoisseui". 

348 Sketch. 

349 Currants. 

350 Head. 

351 White Mtg. from Bethlehem. 



Copley. 
J. Pope. 
Otto Sommers. 
P. De La Roche. 
Geo. Inness. 
Geo. H. Yewell. 
J. H. Dolph. 
Fabronius. 
A. Hartwell. 
Livingston. 
M. Wight. 
Melby. 
Tilton. 
Otto Sommers. 

Scheeres. 

Scheeres. 

Champney. 

S. W. Wenzler. 

J. H. Young. 

B. F. Nutting. 



T. R. Gould. 
T. R. Gould. 



Public Library. 



For Sale. 

T. Wigglesworth. 

For Sale. 

For Sale. 

For Sale. 



For Sale. 
A. Heard, Jr. 
For Sale. 

T. Wigglesworth. 
T. Wigglesworth. 
M. J. Whipple. 
For Sale. 
M. J. Whipple. 
For Sale. 



ici 



%. 



